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Dec 134 min read

Unlocking Success: 6 Design Thinking Tips from our Imperial War Museums London Case Study.


A view of the entrance to the Imperial War Museum in London. The building features a neoclassical façade with columns and a green domed roof. Two large naval guns are prominently displayed in front of the museum, angled outward. A person is standing near the guns, giving a sense of scale. The surrounding area has some landscaping with bare soil and plants, with trees visible on both sides under a partly cloudy sky.
The entrance of the Imperial War Museums London

The Imperial War Museums (IWM) is an institution founded in 1917, with five locations across England. The main site, located in South London, is known as the Imperial War Museum London and features significant galleries dedicated to the First and Second World Wars.


An interior view of the Imperial War Museum in London, showcasing a dramatic central atrium. Suspended from the ceiling are several large military aircraft, including a fighter jet and other wartime planes. A tall green missile is prominently displayed on the floor, along with other military artifacts and vehicles. Visitors walk through the space, exploring various exhibits. The architecture features tall, angular walls with modern, minimalist design, and multiple levels visible through staircases and platforms. The lighting emphasizes the exhibits, creating a dynamic and immersive atmosphere.
The main hall of the Imperial War Museums London

In 2018, the IWM management invited us to deliver a Design Thinking workshop with the goal to support the creation of an interactive exhibit highlighting the contributions of the British Empire (India, Canada, and others) to the war effort during the Second World War. The interactive exhibit, outcome of our Design Thinking workshop, was then installed in the brand new WWII Galleries in 2022.


Based on that experience, we want to share 6 tips to help you maximise the benefits of a Design Thinking process.


This image shows a group of four people engaged in a discussion in a workshop setting at the Imperial War Museums London. A woman with curly dark hair, Stefania Boiano, wearing a scarf and a sweater, is speaking animatedly with her hands gesturing, appearing to explain or emphasize a point. The others are attentively listening: a man with his hand on his chin, a woman holding a notebook and pen, and another person partially visible in the foreground. The room appears informal, with a bright background and scattered materials on a table behind them.
Giving the challenge to the team

  1. BE SPECIFIC The challenge must be real, clear, practical, and feasible. In our case, the challenge was: "How might we make the Empire ACTIVE EXPERIENCE in Gallery 5 of the new Second World War Galleries more INSTANTLY ENGAGING and THOUGHT-PROVOKING?" By focusing on a single exhibit the team was able to maintain a clear and manageable scope, avoiding the complexity of tackling an entire gallery or broad theme. This allowed them to prioritise practical goals, such as refining content, optimising layout, and enhancing interactivity. The objective was to capture visitors’ attention immediately while inspiring deeper reflection beyond the gallery. Anything less specific risks becoming overly abstract or difficult to execute within the constraints of time, resources, and physical space.

    This image shows a group of three people kneeling or crouching on the floor, actively working on a hands-on task involving paper and cardboard. One person, wearing a flat cap, is reaching out to adjust a sheet of paper, while another, dressed in a festive sweater and white sneakers, is carefully placing or folding paper. The third individual, wearing a light pink sweater, is leaning in, focused on arranging materials. The setting suggests a collaborative workshop environment with natural light coming through a window in the background.
    Members of the IWM team at work

  2. INTERSECT EXPERTISE A museum Design Thinking team should include representatives from at least three key groups: curators, designers, and educators. Curators bring deep knowledge of the content, designers specialise in creating compelling exhibits, and educators understand the visitors and how to engage them effectively. By collaborating, these diverse perspectives lead to solutions that are more accurate, feasible, and engaging.


    This image shows an older couple, viewed from behind, engaged in an interactive activity or discussion at a table. The man is wearing a suit, and the woman has white hair and is dressed in black with a gold chain purse strap over her shoulder. A person in black is leaning over the table, using their hands to explain or present something laid out on the surface, which includes bold text and visual materials. The setting appears to be a workshop or educational event, encouraging participation and dialogue.
    A couple of visitors testing the prototypes at IWM

  3. INVOLVE REAL VISITORS IN THE PROCESS Engaging real visitors through empathetic conversations about their needs and testing solutions with them is essential. As the end users of the exhibits, visitors offer fresh perspectives that are unencumbered by the knowledge and biases of museum staff. It's equally important to involve "extreme users," representing opposite ends of a particular characteristic spectrum. For instance, in this project, we engaged a PhD in Military History and someone with no particular interest or knowledge of history, as well as two WWII veterans and a young person with little or no emotional attachment to the events. Additionally, involving people with disabilities early in the empathy and design process is crucial to ensuring that the exhibits are accessible and inclusive.



This image depicts a collaborative brainstorming session, with a focus on a sketchpad filled with handwritten diagrams and notes in purple ink. A person is gesturing with a pen in hand, seemingly explaining or discussing the sketches. Another person is leaning in to observe the content. Several colorful markers are placed on the table, indicating active participation and creativity. The setting conveys an informal and engaging atmosphere conducive to idea sharing and prototyping.
Designing on paper at IWM.

  1. PAPER IS AN ESSENTIAL DESIGN TOOL When designing a digital interactive exhibit, we always recommend starting with paper. Paper offers unparalleled freedom to think and create—it is, quite literally, a "blank canvas." Even if there are very good design and prototyping software around, like Figma Marvel, SketchUP, or Fusion 360 to name a few, beginning with paper allows for greater flexibility, free from the constraints of software or device limitations. Additionally, paper create an easier and more playful collaboration among team members, encouraging a more inclusive and dynamic design process.



This image shows two people engaged in a focused discussion around a 3D prototype or model covered in white paper with maps of different continents attached. The man on the left, wearing a plaid shirt, is pointing at the model while appearing deep in thought. The woman on the right, dressed in black, has her hand on her hip and looks contemplative, as if considering the details of the work. Behind them, framed posters adorn the wall, adding a formal backdrop to the creative and analytical setting.
Testing 1:1 prototypes with a visitor

  1. PROTOTYPE AT FULL SCALE A common temptation when creating prototypes is to work at a smaller scale for convenience and speed. However, this approach can diminish the effectiveness of the prototyping process. Building at full scale provides valuable insights during both construction and testing phases. Full-scale prototypes highlight details that may be missed in smaller versions and offer a more authentic testing experience for both users and facilitators.

    This image captures a lively moment during a workshop or collaborative session. A woman in the foreground, wearing a festive sweater adorned with colorful details and a red scarf, is actively speaking, appearing engaged and expressive. Behind her, a woman in black is attentively taking notes in a patterned notebook, focused on capturing details. To the right, a man in a plaid shirt is holding up a smartphone, possibly recording or taking a photo. The setting is dynamic, emphasizing teamwork and documentation, with a mix of creative energy and attentive listening.
    The IWM team documenting a visitor testing

  2. DOCUMENT EVERYTHING Taking notes and filming during the testing phase is essential for capturing valuable insights and ensuring no detail is overlooked. Note-taking allows team members to document observations as they happen, providing a record of user reactions, behaviors, and feedback in real time. Filming complements this by creating a visual record that can be revisited to confirm initial impressions, analyse subtle details, and share findings with other team members or stakeholders who were not present during the session.

    This combination of methods ensures a comprehensive understanding of how users interact with the prototypes and offers a reliable way to cross-check observations. However, care must be taken to make the documentation process as unobtrusive as possible. Excessive note-taking or visible recording equipment can make users feel self-conscious or disrupt their natural interactions, which may compromise the authenticity of the feedback. Striking the right balance ensures that documentation supports, rather than interferes with, the testing process.

    If you'd like to learn more about our Design Thinking process, check out our blog post on how we applied it at the Museo Egizio in Turin or read our paper on Participatory Innovation and Prototyping in the Cultural Sector.

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